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AMERICAN CINEMATOGRAPHER
(Continued from Page One)
them in a body; I shall pass over
a single foe to charge a whole
army. It is not Lais or Silenus,
but the harlot and the drunkard,
whom I shall endeavor to
expose; and shall consider crime
as it appears in the species, and
not as it is circumstanced in an
individual."
And in answer to some dramatic
critics: "The English
writers of tragedy are possessed
with a notion that when
they represent a virtuous or innocent
person in distress, they
ought not to leave him until they
have delivered him out of his
troubles, or made him triumph
over his enemies. This error
they have been led into by a
ridiculous doctrine in modern
criticism, that they are obliged
to an equal distribution of rewards
and punishments.
HI am sure this has no foundation
in nature or reason. We
find that good and evil happen
alike to all men, and as the
principal design of tragedy is to
raise commiseration and terror
in the minds of the audience, we
shall defeat this great end if we
always make innocence and virtue
happy and successful.
"There is nothing' which delights
and terrifies so much as a
ghost, especially when he appears
in a bloody shirt. . ...
There may be a proper reason
for these several terrors; and
when they only come in as aids
and assistances to the poet,
they are not only to be excused,
but applauded. Far be it from
me to think of banishing these
instruments of sorrow and terror
from the stage; I know a
tragedy could not subsist without
them; all I would contend
for is to keep them from being
misapplied, dramatic inventions
made use of by ignorant poets
to supply the place of tragedy,
and by the skillful to improve
it."
So it can be seen that even in
Addison's time, there were
those who were willing to condemn
great institutions simply
because they could not be adjusted to the opinions of the
few.
the remoteness of the date, their
problems were so similar to
ours. we are constrained to
quote at some length from this
great intellect.
"There is scarce an ornament
of either sex, which has not
been inveighed against with
some bitterness. . .. It is not
my intention, however, to reflect
upon red heels or topknots, but
rather to enter into the passions
of mankind and to correct those
depraved sentiments that give
birth to all those extravagances.
Extinguish vanity in the mind,
and you naturally retrench the
little superfluities of garniture
and equipage. The blossoms will
fall of themselves .when the
root that nourishes them is destroyed."
And of moral behavior we
quote further; "I shall not
make an example of any particular
criminal. If I attack the
vicious, I shall only set upon
(To be continued)
Roy Klaffki, supervising cinematographer
at the Metro
Studio, is a busy man these
days, taking the Metro cameras
apart. The last time he took one
apart he had some of the parts
left over when he put it together,
so he decided to try it with
more of them and see if he
could get enuff parts for another
camera. We'd like to see
.it when he gets thru with it.
Before leaving for Tulsa,
Oklahoma, Reginald Lyons photographed
the Shriners' banquet
to wounded world war veterans,
at Jack Doyle's baseball park at
Vernon. As Mr. Lyons is a
W. W. V. himself, he was glad
to do this for these eighteen
hundred comrades who were not
so fortunate as himself.
American Society of Cinematographers
Holly 4404
and what it stands for
The place to get a surefire cameraman.
The place to find him NOW.
1st
2nd •
OFFICERS
Fred W. Jackman
Alvin Wyckoff
Frank B. Good
William C. Foster
John F. Seitz
President
First Vice-president
Second Vice-president
Treasurer
Secretary
DOARD OF GOVERNORS
King D. Gray
Fred W. Jackman
Roy H. Klaffki
Philip E. Rosen
Holler A. Scott
John Arnold
R. J. Bergquist
William C. Foster
T. G. Gaudio
Frank B. Good
John F. Seitz
James C. Van Trees
Philip H. Whitman
L. Guy Willey
Alvin Wyckoff
MEMBERS
R. B. Kurrle
Sam Landers
John Leezer
J. R. Lockwood
Walter Lundin
Chester A. Lyons
Reginald Lyons
Jack Mackenzie
Wm. M. McGann
Hugh C. McClung
Victor Milner
Ira H. Morgan
Robert S. Newhard
Stephen S. Norton
Roy F. Overbaugh
Ernest S. Palmer
Paul P. Perry
G. C, Peterson
Marcel LePicard
Sol Polito
David Abel
John Arnold
Joe August
Friend F. Baker
George S. Barnes
Andre Barlatier
Wm. J. Beckway
Georges Benoit
R. J. Bergquist
H. Lyman Bruening
Norbert F. Brodin
Karl Brown
L. Dal Clawson
Henry Crorij agel'
A. M. Davey
Faxon M. Dean
E. S. Depew
Robert V. Doran
J. A. Dubray
Arthur Edeson
Perry Evans
William Fildew
Ross G. Fisher
Wm. C. Foster
Harry M. Fowler
T. G. Gaudio
Harry W. Gerstad
Frank B. Good
Fred L. Granville
King D. Gray
Walter L. Griffin
Rene Guissart
Alois G. Heimerl
George William Hill
Fred W. Jackman
Roy H. Klaffki
Ben H. Kline
H. F, Koenekamp
Edward Kull
B. F. Reynolds
George Rizard
Jackson J. Rose
Philip E. Rosen
Charles G. Rasher
C. E. Schoenbaum
A. Scholtz
George Schneiderman
Homer A. Scott
John F, Seitz
Al Siegler
W. S. Smith, Jr.
Harry H. Thorpe
R. H. Totheroh
J. C. Van Tree'l
R. W. Walter
Gilbert Warrenton
Philip H, Whitman
L. Guy Wilky
Alvin Wyckoff
Loyalty Progress Art

AMERICAN CINEMATOGRAPHER
(Continued from Page One)
them in a body; I shall pass over
a single foe to charge a whole
army. It is not Lais or Silenus,
but the harlot and the drunkard,
whom I shall endeavor to
expose; and shall consider crime
as it appears in the species, and
not as it is circumstanced in an
individual."
And in answer to some dramatic
critics: "The English
writers of tragedy are possessed
with a notion that when
they represent a virtuous or innocent
person in distress, they
ought not to leave him until they
have delivered him out of his
troubles, or made him triumph
over his enemies. This error
they have been led into by a
ridiculous doctrine in modern
criticism, that they are obliged
to an equal distribution of rewards
and punishments.
HI am sure this has no foundation
in nature or reason. We
find that good and evil happen
alike to all men, and as the
principal design of tragedy is to
raise commiseration and terror
in the minds of the audience, we
shall defeat this great end if we
always make innocence and virtue
happy and successful.
"There is nothing' which delights
and terrifies so much as a
ghost, especially when he appears
in a bloody shirt. . ...
There may be a proper reason
for these several terrors; and
when they only come in as aids
and assistances to the poet,
they are not only to be excused,
but applauded. Far be it from
me to think of banishing these
instruments of sorrow and terror
from the stage; I know a
tragedy could not subsist without
them; all I would contend
for is to keep them from being
misapplied, dramatic inventions
made use of by ignorant poets
to supply the place of tragedy,
and by the skillful to improve
it."
So it can be seen that even in
Addison's time, there were
those who were willing to condemn
great institutions simply
because they could not be adjusted to the opinions of the
few.
the remoteness of the date, their
problems were so similar to
ours. we are constrained to
quote at some length from this
great intellect.
"There is scarce an ornament
of either sex, which has not
been inveighed against with
some bitterness. . .. It is not
my intention, however, to reflect
upon red heels or topknots, but
rather to enter into the passions
of mankind and to correct those
depraved sentiments that give
birth to all those extravagances.
Extinguish vanity in the mind,
and you naturally retrench the
little superfluities of garniture
and equipage. The blossoms will
fall of themselves .when the
root that nourishes them is destroyed."
And of moral behavior we
quote further; "I shall not
make an example of any particular
criminal. If I attack the
vicious, I shall only set upon
(To be continued)
Roy Klaffki, supervising cinematographer
at the Metro
Studio, is a busy man these
days, taking the Metro cameras
apart. The last time he took one
apart he had some of the parts
left over when he put it together,
so he decided to try it with
more of them and see if he
could get enuff parts for another
camera. We'd like to see
.it when he gets thru with it.
Before leaving for Tulsa,
Oklahoma, Reginald Lyons photographed
the Shriners' banquet
to wounded world war veterans,
at Jack Doyle's baseball park at
Vernon. As Mr. Lyons is a
W. W. V. himself, he was glad
to do this for these eighteen
hundred comrades who were not
so fortunate as himself.
American Society of Cinematographers
Holly 4404
and what it stands for
The place to get a surefire cameraman.
The place to find him NOW.
1st
2nd •
OFFICERS
Fred W. Jackman
Alvin Wyckoff
Frank B. Good
William C. Foster
John F. Seitz
President
First Vice-president
Second Vice-president
Treasurer
Secretary
DOARD OF GOVERNORS
King D. Gray
Fred W. Jackman
Roy H. Klaffki
Philip E. Rosen
Holler A. Scott
John Arnold
R. J. Bergquist
William C. Foster
T. G. Gaudio
Frank B. Good
John F. Seitz
James C. Van Trees
Philip H. Whitman
L. Guy Willey
Alvin Wyckoff
MEMBERS
R. B. Kurrle
Sam Landers
John Leezer
J. R. Lockwood
Walter Lundin
Chester A. Lyons
Reginald Lyons
Jack Mackenzie
Wm. M. McGann
Hugh C. McClung
Victor Milner
Ira H. Morgan
Robert S. Newhard
Stephen S. Norton
Roy F. Overbaugh
Ernest S. Palmer
Paul P. Perry
G. C, Peterson
Marcel LePicard
Sol Polito
David Abel
John Arnold
Joe August
Friend F. Baker
George S. Barnes
Andre Barlatier
Wm. J. Beckway
Georges Benoit
R. J. Bergquist
H. Lyman Bruening
Norbert F. Brodin
Karl Brown
L. Dal Clawson
Henry Crorij agel'
A. M. Davey
Faxon M. Dean
E. S. Depew
Robert V. Doran
J. A. Dubray
Arthur Edeson
Perry Evans
William Fildew
Ross G. Fisher
Wm. C. Foster
Harry M. Fowler
T. G. Gaudio
Harry W. Gerstad
Frank B. Good
Fred L. Granville
King D. Gray
Walter L. Griffin
Rene Guissart
Alois G. Heimerl
George William Hill
Fred W. Jackman
Roy H. Klaffki
Ben H. Kline
H. F, Koenekamp
Edward Kull
B. F. Reynolds
George Rizard
Jackson J. Rose
Philip E. Rosen
Charles G. Rasher
C. E. Schoenbaum
A. Scholtz
George Schneiderman
Homer A. Scott
John F, Seitz
Al Siegler
W. S. Smith, Jr.
Harry H. Thorpe
R. H. Totheroh
J. C. Van Tree'l
R. W. Walter
Gilbert Warrenton
Philip H, Whitman
L. Guy Wilky
Alvin Wyckoff
Loyalty Progress Art